Classy custom-rod looks and an overflowing buffet of tones set this straight-ahead Jag' apart.
Copious tone options. Substantial, comfortable neck. High quality for the price.
No vibrato. Clarity and headroom comes at the expense of some generic tones.
$449
Squier Jaguar HH-ST
fender.com
It's funny to think the Jaguar was once derided by alleged guitar experts and collectors. For all its quirks, a good Jag' is a beautiful playing guitar in just about any incarnation—thanks largely to its short scale and curvaceous shape. In a way, the Squier Contemporary Jaguar HH-ST distills that recipe to its essence.
There are no synchronized floating tremolos here, nor any bass-cut switches or a second set of volume and tone controls. And while the Squier Contemporary Jaguar HH-ST has scads of tone-shaping options in the form of coil-split and series/parallel switches, this Jag' feels built to deliver the most uncluttered and elemental playing experience possible: a nice neck, a comfortable body, and accessible, intuitive controls that deliver tone colors by the bucketload.
Recorded through black-panel Fender Tremolux to Universal Audio OX using Vox AC30-style 2x12 cabinet simulation to Universal Apollo Twin to Universal Audio Luna.
- Bridge single/split coil setting followed by bridge humbucker setting, followed by neck single/split coil setting and then neck humbucker setting.
- Subsequent bridge/middle combined settings are in series and then parallel.
Stripped Down, Sped Up, and Tripped Out
If the previous paragraph suggests that I crave a less complicated Jaguar, you'd be mistaken. The Jaguar/Jazzmaster vibrato is among my biggest guitar-playing crutches, and picking up a Jag' without one leaves me feeling a bit exposed. What offsets that fear, if you'll pardon the pun, is how otherwise familiar and cozy this guitar will feel to any Jaguar fan. Those comfortable proportions are intact and, in fact, enhanced by some very thoughtful design decisions.
The satin roasted maple neck, for instance, feels uncannily like a nice broken-in vintage example. It also has a chunkier profile. Fender generically calls the neck a "C" profile. But it's much fatter than the Squier C necks I've encountered in recent memory—many of which felt pretty slim. This C-shape variant is a handful in just the right way—evoking fatter late-'50s and early-'60s Fender necks—but it still feels super-fast (one of the real joys of short scale Fenders). If you like Fender's curvier 9.5" and vintage-style 7.25" fretboard radii, it has a way of making you notice the flatter 12" feels a lot less flat. The carved heel facilitates unimpeded access to the 22nd fret and the rest of the highest notes. And the fretboard edges, while not super-rounded, are contoured enough to be discernably more comfortable than most affordable electrics.
The fretboard is cut from Indian laurel. It's grayer in hue than rosewood—an effect that's offset a bit by the slick, glossy black pickguard with silver overlay—though I suspect a few years of continuous playing will darken the laurel in a lovely way. The jumbo frets are great for bends, obviously. But they can also pull notes out of pitch if you have a heavy touch, use irregular pressure from finger to finger, or tend to really squeeze chords—a phenomenon that sometimes seems exacerbated on short-scale instruments. On the whole, however, the neck is a lovely thing: the kind I would happily swap out to another guitar if I didn't like the rest of the whole package so much.
The "C" shape variant is a handful in just the right way—evoking fatter late-'50s and early-'60s Fender necks.
Pickup Options Open the Field
Two Squier alnico SQR humbuckers are the engines that generate the Jaguar HH-ST's many tones. But this deviation from Jaguar tradition is not as transgressive as it seems on the surface, thanks to coil-split wiring that turns the humbuckers into single-coils. The single-coil sounds are zingy in the bridge unit and smooth and bell-like in the neck position. Both are a bit cleaner with less bite than a vintage Jaguar's. To my ear, the HH-ST's single-coil tones evoke a Stratocaster's clear, concise snappiness as much as anything. But coaxing garage, jangly, and surfy sounds was pretty easy to accomplish with a touch of amp or pedal gain and reverb. And in general, these pickups seemed voiced for pedal enthusiasts, with lots of headroom and a relatively even harmonic profile that lets effects bloom with more clarity.
In humbucking mode, the SQR pickups sound distinctly fatter but retain the sweetness and agreeable evenness of the single-coil settings. The bridge pickup, which registers a surprisingly hot resistance of 15.3k ohms, still communicates some of a Stratocaster's spanky cleanliness in humbucker mode, while the neck humbucker, at a more modest 10k ohms, is sweet, relatively touch-sensitive, and capable of clean to mildly crunchy dynamics—producing some of my favorite tones from the guitar. Middle position humbucking tones are sweet, too, though I typically found the series setting a bit muddy and preferred the parallel mode. On the whole, the humbuckers are less growly than, say, a vintage PAF. But in achieving a nice balance between warm, clear, and not-too-wooly or dirty, they end up inhabiting a pretty unique tone zone that leaves lots of room for coloration from playing dynamics and pedals.
The Verdict
Short scale guitars may not be your bag. But the comfort of the Squier Contemporary Jaguar HH-ST's proportions, and the effectiveness with which it works as a platform for humbuckers, validates the integrity of Leo Fender's basic design. The substantial neck is a treat and feels like it was borrowed from a more expensive instrument. And while vintage Fenderphiles may fault the SQR humbuckers for sounding relatively generic, they're capable of an uncluttered sweetness that make a great platform for exploring effects—particularly when you factor in the versatility of coil splitting. At less than $450 bucks, the Squier Contemporary Jaguar HH-ST qualifies as a steal. Heck, the combination of price, quality, and versatility is almost enough to make me forget there's no vibrato.
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PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
His credits include Miles Davis’ Jack Johnson and Herbie Mann—next to whom he performed in Questlove’s 2021 documentary, Summer of Soul—and his tunes have been covered by Santana and the Messthetics. But it’s as a bandleader and collaborator where Sharrock cut his wildest recordings. As groundbreaking as Sharrock’s music could be, his distorted tone and melodic tunes helped bring rock listeners into the jazz tent. Our callers let us know how much Sharrock meant to them and why he’s one of the “top guys of all time.”
Belltone Guitars has partnered Brickhouse Toneworks to create a one-of-a-kind, truly noiseless Strat/Tele-tone pickup in a standard Filter’Tron size format: the Single-Bell pickup.
The Single-Bell by Brickhouse Toneworks delivers bonafide single-coil Strat and Tele tones with the power of a P-90 and no 60-cycle hum. Unlike typical stacked hum-cancelling designs, Brickhouse Toneworks uses a proprietary ‘sidewind’ approach that cancels the 60-cycle hum without sacrificing any of the dynamics or top-end sparkle of a Fender-style single coil.
Get the best of both worlds with clear bell-like tones on the neck pickup, signature quack when combining the neck and bridge pickups, and pristine twang in the bridge position backed with the fullness and power of a P-90. Push these into overdrive and experience the hallmark blues tone with plenty of grit and harmonic sustain — all with completely noiseless performance.
Key Features of the Single-Bell:
- Cast Alnico 5 Magnet, designed to be used with 500k pots
- Voiced to capture that signature Fender-style single coil tone without the 60-cycle hum
- Lightly potted to minimize squeal
- Made in the USA with premium quality materials
The retail price for a Bridge and Neck matching set is $340.00 and they’re available directly and exclusively through Belltone® Guitars / Brickhouse Toneworks at belltoneguitars.com.
Designed for players who demand flexibility without sacrificing tone, the Aquanaut fuses the rich warmth of classic analog delay with the extended range and clarity of modern digital designs. Featuring up to 600 milliseconds of delay time, the Aquanaut easily covers everything from tight slapback echoes to lush, ambient textures and rhythmic soundscapes – all with a simple, intuitive control layout.
Unlike many digital delays that can sound sterile and detached, the Aquanaut retains an organic, analog-inspired voice. Repeats are smooth and musical, gently fading into the mix to create depth and dimension without overwhelming your dry signal. Whether you’re chasing vintage tape echo, adding subtle space to your solos, or building massive atmospheric layers, the Aquanaut keeps your tone clear, present, and inspiring.
Berserker Electronics Aquanaut Delay/Echo
Key features include:
- Up to 600ms of delay time for expanded creative possibilities
- Analog-voiced digital architecture for warm, natural-sounding repeats
- Ambient-style echo that enhances, not distracts from, your core tone
- Simple, intuitive controls for delay time, feedback, and blend
The Aquanaut is available direct at www.berserkerpedals.com and Reverb at a $149 street price.